Author: Editorial Team

Progressive rock group EchoVerse introduces the next chapter of the band with their forthcoming sophomore album, Fall Towards The Sky, due out on March 27th, 2026. Along with the album announcement comes the first single and video for “Radical Rebirth,” blending Christian spirituality with modern progressive and hard-rock influences. 

“Radical Rebirth” is a statement of renewal and awakening. Rooted in the promise of a new heaven and a new earth, the song centers on breaking free from illusion, choosing transformation over drifting through life on autopilot, and trusting that what feels heavy, broken, or final is not the end of the story.

The music video, directed and edited by Christian Rios, visually amplifies the song’s emotional arc and brings a textured, cinematic quality to the piece that mirrors the song’s themes of deconstruction and emergence. Watch the video for “Radical Rebirth” below.

Work on Fall Towards The Sky began immediately after the band wrapped their 2024 debut, Whispers Between Worlds. From the outset, EchoVerse committed to crafting a record that would feel intentional from start to finish, while pushing their sound into a heavier, more assertive space.

“We started working on this album almost immediately after finishing Whispers Between Worlds,” says drummer Kyle Fagala. “We wanted the sophomore album to feel intentional — like a complete journey — and we weren’t willing to settle until every part of it felt right.”

“For this album, we focused intensely on flow,” says keyboardist/bassist Doug Bowers. “Transitions, dynamics, pacing — everything had to move naturally from start to finish. That process made the album more cohesive and full-bodied.”

“This record feels more confident and more direct than anything we’ve done,” says lead guitarist Rob Perez. “We pushed ourselves into heavier territory without losing sight of the heart of the band.”

Vocalist Kyle ‘KG’ Graves adds, “With this record, we didn’t want to repeat the past. Fall Towards The Sky is heavier, sharper, and at the same time, more hopeful. The video for ‘Radical Rebirth’ really captures that tension between struggle and breakthrough.”

The band has started a Kickstarter campaign to help support the release of the album, which can be found here.

Running just over 52 minutes, Fall Towards The Sky represents a more focused and assertive artistic statement from EchoVerse. Anchored by the debut single and music video “Radical Rebirth,” the record invites listeners to wrestle honestly with faith, identity, and ambition — balancing weight and hope through an immersive, modern progressive rock experience.

“We genuinely believe this is our strongest effort to date,” says Kyle Fagala. “Radical Rebirth captures exactly what this new chapter of EchoVerse is about. 

The post ECHOVERSE Announce New Album “Fall Towards the Sky”; Share Music Video For First Single “Radical Rebirth”  appeared first on Sonic Perspectives.

Warrant formed in 1984 in Hollywood, Los Angeles, California, and built their reputation during a dominant run between 1989 and 1996. Over that stretch, the band released five albums that collectively sold more than 10 million copies worldwide, cementing their place in hard rock history.

The band broke into the mainstream with their double-platinum debut Dirty Rotten Filthy Stinking Rich in 1989. One of its standout singles, “Heaven,” climbed to No. 2 on the Billboard Hot 100 and pushed Warrant into heavy rotation on radio and MTV. Momentum carried into the early 1990s with the release of Cherry Pie in 1990, another double-platinum record that delivered the era-defining hit “Cherry Pie.”

In 1992, Warrant released their third album, Dog Eat Dog. While it reached a lower commercial peak than its predecessors, the album earned critical praise, sold over 500,000 copies, achieved Gold status, and landed at No. 25 on the US Billboard charts. The band followed that release with Ultraphobic in March 1995, produced by returning collaborator Beau Hill, known for his work with Alice Cooper and Ratt. The album featured tracks such as “Family Picnic” and showed the band continuing to refine their sound.

Now, Warrant are marking the 30th anniversary of their fifth studio album and final release with Jani Lane. Belly To Belly Vol. 1, originally released in October 1996, has been remastered and repackaged and is now available on vinyl for the first time, alongside a CD edition. Reflecting on the album, founding guitarist Erik Turner shared his perspective: “Belly To Belly shows Warrant holding onto our melodic musical identity while exploring a heavier, alternative sound. We had a blast writing, recording and self-producing the album at Jerry Dixon’s Dreamstate recording studio in Van Nuys, California. If you are a fan of Warrant & early 90’s style hard rock, you will probably love listening to this rare gem.”

The anniversary release is scheduled for April and will be pressed on 180-gram vinyl in both Splatter and Black variants. A limited number of CD and LP bundles will also be available, each including a signed print from original members Erik Turner and Jerry Dixon, while supplies last.

Pre-orders for Belly To Belly Vol. 1 on CD and LP are available here.

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Bandai Namco Filmworks has confirmed that “Sweet Child O’ Mine” by Guns N’ Roses will serve as the ending theme for the new Gundam film, Mobile Suit Gundam Hathaway: The Sorcery Of Nymph Circe. A newly released promotional trailer featuring the song is now available and gives fans an early look at how the track is woven into the film’s closing moments.

The trailer focuses on Hathaway’s internal struggle as he tries to move forward from his feelings for Gigi. At the same time, Gigi’s mysterious abilities — powers that could shift the direction of the ongoing conflict — and her emotions toward Hathaway continue to deepen. The footage makes it clear how closely their relationship shapes both characters, while the ending theme reinforces the scale and emotional weight of the story. The trailer also includes several standout moments, including a look at the new mobile suit “TX-ff104 ALYZEUS”.

The choice of “Sweet Child O’ Mine” connects directly to the narrative. The song’s lyrics, centered on tenderness and longing and the complicated emotions tied to the presence of “her”, closely mirror Hathaway’s state of mind after meeting the enigmatic Gigi. That emotional overlap helps position the track as a natural fit for the film’s ending rather than a novelty placement.

“Mobile Suit Gundam Hathaway” first premiered in Japanese theaters in 2021 and gained strong attention for its grounded combat scenes, restrained dialogue, and psychological focus on its characters. The newest chapter, Mobile Suit Gundam Hathaway: The Sorcery Of Nymph Circe, opened in theaters across Japan on Friday, January 30, with an international theatrical release planned to follow.

According to the official Mobile Suit Gundam Hathaway: The Sorcery Of Nymph Circe synopsis, the story takes place in U.C.0105, twelve years after Char’s Rebellion. “MAFTY” has begun opposing the Federation government’s oppressive control through targeted assassinations of senior officials. Its leader is revealed to be Hathaway Noa, the son of Bright Noa, who fought during the One Year War alongside Amuro Ray.

Still burdened by past trauma, Hathaway becomes drawn to Gigi Andalucia, a mysterious young woman whose strange powers awaken memories he has tried to suppress. Influenced by her cryptic words, he continues preparations for MAFTY’s next operation — the planned attack on the Adelaide Conference.

On the opposing side, Federation Forces officer Kenneth Sleg organizes defensive measures for the Adelaide Conference and a strategy to dismantle MAFTY. He is soon contacted by Handley Yoxon of the Criminal Police Organization, who approaches him with a confidential proposal. As Hathaway and Kenneth move toward their respective objectives, Gigi also departs for Hong Kong, setting her own plans into motion.

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Today, multi-platinum rock mainstays Godsmack announced The Rise Of Rock World Tour 2026, a large-scale North American trek supported by Stone Temple Pilots and Dorothy. Promoted by Live Nation, the tour brings Godsmack’s hard-driving live show back to amphitheaters across the continent.

The run launches Sunday, May 10, in Bristow, Virginia, at Jiffy Lube Live and moves through major markets in the United States and Toronto, Canada. Stops include Austin, Chicago, Denver, Phoenix, and multiple California dates before the tour wraps on Saturday, September 26, at Ford Idaho Center Amphitheater in Nampa, Idaho.

With a reputation built on aggressive live performances and decades of radio dominance, Godsmack are set to deliver a career-spanning set that looks back at their catalog while pushing forward. The addition of Stone Temple Pilots and Dorothy brings together artists who have played key roles in shaping modern hard rock across different eras.

Ticket access begins with a Citi presale for cardmembers starting Tuesday, February 3, at 10 a.m. local time, running through Friday, February 6, at 9 a.m. local time via the Citi Entertainment program. Full presale information is available here. General ticket sales open Friday, February 6, at 10 a.m. local time through here.

For fans looking to step deeper into the experience, Godsmack are offering the “BulletProof” Experience VIP package. The upgrade includes premium tickets, priority entry into the venue, and exclusive collectible merchandise. Highlights feature a limited-edition 11×17 art print, a Godsmack-branded guitar pick tin with picks, a three-piece skull enamel pin set inspired by classic album eras, and a commemorative VIP laminate and lanyard. Designed for dedicated fans, the package puts the focus on access, memorabilia, and staying close to the band’s legacy.

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On February 1st, at Crypto.com Arena in Los Angeles, California, Yungblud took home the 2026 Grammy Award for Best Rock Performance. The win came from his live cover of “Changes,” originally by Black Sabbath. The performance was recorded on July 5, 2025, at Villa Park in Birmingham, England, during Ozzy Osbourne’s final concert, Back To The Beginning. The original version of “Changes” first appeared on Vol. 4, Black Sabbath’s fourth album released in 1972.

Yungblud’s version of “Changes” stood as a clear tribute to Ozzy Osbourne, built around a stripped-down and emotional delivery. He was joined by a stacked lineup of musicians, including Extreme guitarist Nuno Bettencourt, Anthrax bassist Frank Bello, Sleep Token drummer II, and Ozzy Osbourne/Black Sabbath keyboardist Adam Wakeman. Together, they delivered a performance that focused on feel and respect rather than flash.

During his acceptance speech, Yungblud reflected on the moment and its meaning, saying: “You do not expect to be up here and then you fucking are, so it’s wild. To grow up loving an idol that helps you figure out your identity, not only as a musician but also as a man, is something I’m truly grateful for. But then to get to know them and form a relationship with them, honor them at their final show, and receive this because of it, is something that I and I think we’re all finding so strange to comprehend.”

He followed that with a direct message to his hero, stating: “We fucking love you Ozzy!”

Yungblud also acknowledged the Osbourne family and the larger community behind the event, adding: “We would all like to thank Sharon, Jack, Kelly, and Aimee for this opportunity. Everyone at the Back To The Beginning show, the whole band with me right now, where six generations of rock musicians came together in the name of our genre, in the name of Sabbath, and in the name of Ozzy Osbourne.”

Turning his focus to the future of heavy music, he made his stance clear: “I deeply love this genre. It’s all I’ve ever known. We want to dedicate this, and I want to dedicate this, to everyone in the guitar shop I grew up in and everyone in a guitar shop or a bedroom with a dream. Rock music’s fucking coming back. Watch out, pop music, we’re gonna fucking get you.”

He closed with a personal memory that tied the night together: “The last time I saw Ozzy Osbourne, you asked me if there’s anything you could do for me. I answered the music was enough, and I can safely say on behalf of all of us that still stands now and it will do forever. You’ll be with me every time I’m nervous and on stage at every show. God bless rock music and god bless fucking Ozzy Osbourne.”

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Indian metal force Bloodywood have released a new official live video for “Aaj,” giving fans a raw look at the band onstage during their March 2025 performance at the O2 Kentish Town in London. The footage was filmed by Luke Shadrick and captures the band in front of a packed crowd as part of the Return Of The Singh Tour EU 2025.

The tour run saw Bloodywood sharing stages across Europe with Calva Louise and Demonic Resurrection, bringing a diverse and heavy lineup to clubs and theaters throughout the region. The live video reflects the energy of that tour stop, highlighting the intensity and connection between the band and the audience during “Aaj.”

In addition to the live release, Bloodywood have confirmed plans to take things stateside next year. The band announced the System Of A Brown US Tour 2026, setting the stage for a major run across North America as their momentum continues to build.

System Of A Brown US Tour 2026 Tour Dates:

April:

10 — Des Moines, IA – Wooly’s *
11 — Minneapolis, MN – Varsity Theater *
13 — Denver, CO – The Oriental Theater *
14 — Salt Lake City, UT – The Depot *
16 — Portland, OR – McMenamins Crystal Ballroom *
17 — Seattle, WA – Neptune Theatre *
18 — Garden City, ID – Revolution Concert House & Event Center *
20 — San Francisco, CA – August Hall *
21 — San Diego, CA – The Observatory SD *
22 — Los Angeles, CA – The Belasco *
24 — Mesa, AZ – The Nile Theater *
25 — Las Vegas, NV – Sick New World
28 — Dallas, TX – The Echo Lounge & Music Hall *
29 — Austin, TX – Empire Garage *

May:

01 — Madison, WI – Majestic Theatre *
02 — Chicago, IL – House of Blues Chicago *
04 — Boston, MA – Paradise Rock Club *
05 — Philadelphia, PA – Theatre of Living Arts *
06 — New York, NY – Irving Plaza Powered by Verizon 5G *
08 — North Myrtle Beach, SC – House of Blues Myrtle Beach *
10 — Daytona Beach, FL – Welcome to Rockville
11 — Atlanta, GA – Buckhead Theatre *
12 — Chattanooga, TN – The Signal *
13 — Louisville, KY – Mercury Ballroom *
15 — Toronto, ON – The Danforth Music Hall *
16 — Detroit, MI – Saint Andrew’s Hall *
17 — Columbus, OH – Sonic Temple

*w/ The Pretty Wild, Ladrones, and Ankor

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After decades of being a constant presence in heavy music, Megadeth finally grabbed the one stat that always seemed to sit just out of reach. According to Billboard, the band’s self-titled album, Megadeth, opened at No. 1 on the Billboard 200 dated February 7, giving them their first chart-topper after a Billboard 200 history that started back in 1986.

Over the course of their run, they’ve placed 23 albums on the chart, and until now, their ceiling was No. 2 with 1992’s Countdown To Extinction.

This No. 1 came from fans showing up like collectors and lifers, not casual listeners. Megadeth pulled 73,000 equivalent album units in the U.S. for the week ending Jan. 29 (per Luminate), and 69,000 of that total came from pure sales. In plain terms, people bought this record. That 69,000 figure also gives the band their biggest sales week since 1999, when Risk started with 74,000 sold.

The format breakdown makes it even clearer where the fuel was. Of the 69,000 sales, physical formats (CD, vinyl, cassette) totaled 56,000, with 22,000 of that on vinyl. Billboard notes that this is Megadeth’s strongest vinyl week of the modern tracking era, dating back to when Luminate began electronically tracking sales in 1991. Streaming still contributed, just on a smaller scale compared to purchases: SEA made up 4,000 units, which Billboard equates to 4.23 million on-demand official streams of the album’s tracks, while TEA was described as negligible.

A lot of that sales power came down to how the album was offered. The release got a boost from being spread across “more than a dozen vinyl variants,” plus a Target-exclusive CD that included a bonus track, and a deluxe digital download version that arrived mid-week with another bonus track. That’s the modern playbook for a band with a dedicated fanbase, and it worked.

The timing around the release also kept attention on the band. Megadeth came out on January 23, and the documentary Megadeth: Behind the Mask hit theaters the day before. Next up is the farewell run, which starts Feb. 15 in Victoria, British Columbia.

The band also claims the top spot in Australia (highest previous position #2) and Austria (highest previous position #8). Other top five spots include #2 in Finland (+ #1 physical), Sweden (+ #1 physical; highest previous position #9), and Belgium (highest previous position: #6); #3 in both the U.K. and Germany (highest previous position: #6); #4 in the Netherlands (highest previous position: #7); and #5 in both Italy (highest previous position: #15) and New Zealand (highest chart position ever). Debuts in additional territories are still being compiled at press time.

“After 40 years of delivering Megadeth music, playing shows around the world, I have nothing but gratitude at this moment. Finding out that our last Megadeth record is also our first #1 only further validates my will to go out on top,” says Dave Mustaine, vocalist, guitarist, songwriter, and producer. “Thank you to my family, Teemu Mantasaari, James LoMenzo, Dirk Verbueren, and Chris Rakestraw, all our fans for making this possible, without you, Megadeth would not be as successful as we are. I’d also like to thank the people behind the scenes, our management, Danny Nozell, Justis Mustaine, and Steve Ross at CTK, and our label BLKIIBLK/Tradecraft.”

“This recording is a labour of love, and I hope you enjoy this as much as we do. See you on tour soon!” – Dave Mustaine

“Absolutely amazing news! Thank you and congrats to our entire extended Megadeth family!” – Teemu Mäntysaari

“I want to sincerely thank all our friends and fans who grabbed a copy, we’re over the moon!” – James LoMenzo

“It feels unbelievable to sit atop the charts with an album that’s uncompromisingly Megadeth. Huge thanks to all of you who support us- you made this happen! See you on tour!” – Dirk Verbeuren 

If anyone still wonders how Billboard converts all of this into a single number, the original article lays out the math. The Billboard 200 ranks albums by “equivalent album units” compiled by Luminate, combining album sales, track equivalent albums, and streaming equivalent albums. One unit equals one album sale, or 10 tracks sold from the album, or 2,500 ad-supported streams, or 1,000 paid/subscription on-demand official audio and video streams tied to the album’s songs.

One more context note from the article: 73,000 units at No. 1 is a relatively low total for the top spot, and Billboard points out it’s the lowest No. 1 sum since last May, when Sza’s SOS returned to No. 1 on the May 3-dated chart with 52,000 units. The key difference here is how Megadeth reached the top: the numbers lean heavily toward fans buying physical and digital copies.

For longtime followers, the career arc behind this moment matters. Megadeth first entered the Billboard 200 on the Oct. 25, 1986-dated chart with Peace Sells… But Who’s Buying? at No. 118, later peaking at No. 76. So Far, So Good… So What! became their first top 40 album in 1988, peaking at No. 28. Then Countdown To Extinction delivered their first top 10 in 1992 and kicked off a run that includes nine top 10 albums overall.

If the studio chapter really closes here, Megadeth did it the hard way: decades of releases, years of near-misses, and then a purchase-driven No. 1 powered by the kind of fanbase metal bands live and die by.

The post MEGADETH Score First-Ever Number 1 On All-Genre Billboard 200 U.S. Chart With Farewell Album appeared first on Sonic Perspectives.

Sharon Osbourne is openly considering reviving Ozzfest. In a new interview with Billboard, she said she’s already in discussions with Live Nation about what a new edition could look like, and why it mattered so much to Ozzy Osbourne in the first place.

“I’ve been talking to Live Nation about bringing [Ozzfest] back recently,” she revealed. “It was something Ozzy was very passionate about: giving young talent a stage in front of a lot of people. We really started metal festivals in this country. It was replicated but never done with the spirit of what ours was, because ours was a place for new talent. It was like summer camp for kids.”

She also put a rough window on it, saying the next iteration could potentially launch as soon as 2027, while hinting it would arrive with a different approach than the old blueprint: “I’d like to mix up the genres.”

In the same conversation, Sharon said she’s working with Live Nation on something else that’s very different from a touring metal festival: a classical tour built around Black Sabbath’s catalog, performed by local orchestras and paired with modern visuals.

The festival began 30 years ago and became a major turning point for hard rock and metal touring in the U.S., especially in terms of giving rising bands real exposure in front of massive crowds. But it hasn’t operated as a full U.S. traveling festival since the “free” edition in 2007. After that, it shifted into limited and one-off formats: a single Dallas event in 2008, a year off in 2009, and then a run of just six cities in 2010.

The modern-era highlights were more event-style than full tours. In 2017, an all-day Ozzfest drew more than 17,000 attendees, headlined by Ozzy, with Rob Zombie closing out the next day’s bill. That was also the second year Ozzfest merged with Slipknot’s Knotfest into a two-day heavy metal blowout.

Then came the one-night-only New Year’s Eve Ozzfest on December 31, 2018, at Kia Forum in Los Angeles. According to Pollstar, it drew 12,465 fans and generated $1.2 million in ticket sales, with prices ranging from $59.50 to $179.50. The lineup included Ozzy at the top, plus Rob Zombie, Marilyn Manson, Korn’s Jonathan Davis performing a solo set, and Body Count. A second stage featured Zakk Sabbath—the Black Sabbath tribute band fronted by Ozzy guitarist Zakk Wylde.

If Ozzfest really does come back, the question is whether it returns as a full-on touring institution again or evolves into a new hybrid, especially with Sharon talking about mixing genres while still keeping the original point intact: breaking newer acts in front of big crowds.

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Brian May has suggested the door is at least partly closed on Queen returning to the U.S. in the near future. Speaking to the U.K. newspaper Daily Mail, the Queen guitarist said the current situation in the United States is giving the band pause.

“America is a dangerous place at the moment, so you have to take that into account. It’s very sad because I feel like Queen grew up in America, and we love it, but it’s not what it was. Everyone is thinking twice about going there at the moment.”

May didn’t spell out exactly what he views as unsafe about the U.S., but the message was clear: the band is factoring it into any touring plans.

As for when he and drummer Roger Taylor might get back on stage—especially with their current live setup alongside Adam Lambert, performing as Queen + Adam Lambert—May said the timeline is open-ended.

‘I don’t know when Queen will be back on stage — it’s an unknown. We’ll take it day by day.”

He also hinted that there may still be new music in the pipeline, even if touring is on pause.

“It was time to take a break and spend time with family, take stock. But never say never about not coming back, the rebuild of Queen Two is coming back, and there are a couple of things you haven’t heard.”

The article also notes May’s public profile outside the band, including political activism and animal welfare work, plus major career milestones like his induction into the Rock and Roll Hall of Fame (2001) and his PhD in astrophysics from Imperial College London (2008).

Meanwhile, May’s wife, actress and singer Anita Dobson, recently suggested Queen would step away from large-scale touring due to health concerns and the reality that the band members are “getting old.”

Those comments landed not long after Taylor told Rolling Stone that he, May, and Lambert have no intention of framing anything as a final goodbye: “I don’t think we’re done. And I don’t think we’re going to say a final farewell tour. Because it never is, is it?” When pressed if Queen will be “resting forever,” he replied: “At one point we will be.”

The post BRIAN MAY Reveals That QUEEN Won’t Tour The US In The Foreseable Future: “America Is A Dangerous Place At The Moment” appeared first on Sonic Perspectives.

Polish extreme metal veterans Behemoth have released a striking new music video for their track “Nomen Barbarvm,” a key song taken from their latest album, The Shit Ov God. The clip leans heavily into visual storytelling, pairing the song’s themes with imagery that is both provocative and carefully constructed.

Directed by Dariusz Szermanowiczr, the video presents a bleak, symbolic world filled with references to occult practices and reworked religious imagery. The approach aligns closely with Behemoth’s long-established creative direction. The production emphasizes cinematic detail, making use of dramatic lighting, intricate costumes, and layered visual effects to support a dark, narrative-driven presentation.

Frontman Adam “Nergal” Darski offered insight into the song’s lyrical foundation, explaining, “‘I create as I speak.’ Isn’t that, in essence, Crowley’s ‘Do what thou wilt’ — just cast in slightly different words? This idea became the lyrical leitmotif of ‘Nomen Barbarvm’, arguably one of the most melodic, yet also deeply groove-driven tracks Behemoth have ever committed to tape. In just a moment, we’ll be putting it to the test live on our upcoming tour.”

He added further context about the visual collaboration behind the release, saying, “What you’re about to see is a music video we’re immensely proud of, created in collaboration with Group 13. But you already know what that combination means — uncompromising quality and a message art vision that doesn’t compromise!”

The Shit Ov God was released in May 2025 through Nuclear Blast Records. The album was produced by Jens Bogren at Fascination Street Studios, known for his work with Emperor, Enslaved, Kreator, and Rotting Christ. Working closely with the band, Bogren helped preserve Behemoth’s signature intensity while refining the album’s sonic depth and clarity.

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